La-La Land has announced that next week, along with their previously announced and eagerly awaited 4-disc second volume of Mark Snow's music for The X-Files, they will be releasing Frederik Wiedmann's orchestral score for the made-for-video animated film JUSTICE LEAGUE: THE FLASHPOINT PARADOX.

The latest CDs from Quartet, due next week, are a two-disc set of Alan Silvestri's score for THE DELTA FORCE (the complete score on disc one, the LP sequencing on disc two) and an expanded version of Anton Garcia Abril's score for TEXAS, ADDIO.

Damon Intrabartolo died on August 13 at the age of 39. Intrabartolo was a composition student at the USC School of Music when his friend, composer/editor John Ottman, broke into the big time with his work on 1995’s Oscar-winning thriller The Usual Suspects. He became one of Ottman’s top collaborators and worked with him steadily for over a decade, working as a conductor and/or orchestrator on such scores as The Cable Guy, Lake Placid, X2, Fantastic Four and Superman Returns; he also worked in a similar capacity for composer Stephen Trask on such films as In Good Company, Dreamgirls and The Savages. A composer in his own right, Intrabartolo wrote the score for the 2000 indie drama The Journey of Jared Price, the feature directing debut of Dustin Lance Black, who would go onto win the 2008 Original Screenplay Oscar for Milk. Intrabartolo’s best known work as a composer was the gay coming-of-age pop musical Bare, which prmiered in Los Angeles in 2000, winning several awards and later receiving multiple Off-Broadway runs. He was at work on other projects and living in Phoenix, Arizona at the time of his death.

September 6 - Louis Silvers born (1889)
September 6 - William Kraft born (1923)
September 6 - Patrick O'Hearn born (1954)
September 6 - Hanns Eisler died (1962)
September 6 - John Williams records his score for the Eleventh Hour episode "The Bronze Locust" (1963)
September 6 - George Duning's scores for the Star Trek episodes "Is There In Truth No Beauty?" and "The Empath" are recorded (1968)
September 7 - Leonard Rosenman born (1924)
September 7 - Carlos Camilleri born (1931)
September 7 - Mark Isham born (1951)
September 7 - Fred Steiner's score for the Star Trek episode "Mudd's Women" is recorded (1966)
September 7 - Miklos Rozsa begins recording his score for The Power (1967)
September 8 - Peter Maxwell Davies born (1934)
September 8 - Fred Steiner's score for the Star Trek episode "Mirror, Mirror" is recorded (1967)
September 8 - Alex North died (1991)
September 9 - Hoyt Curtin born (1922)
September 9 - Jerrold Immel born (1936)
September 9 - Christopher Palmer born (1946)
September 9 - David A. Stewart born (1952)
September 9 - Bernard Herrmann begins recording his score to Beneath the 12-Mile Reef (1953)
September 9 - Eric Serra born (1959)
September 9 - Alex North begins recording his score to The Shoes of the Fisherman (1968)
September 10 - Roy Ayers born (1940)
September 10 - Allan Gray died (1973)
September 10 - Bruce Broughton records his score for the Amazing Stories episode "Welcome to My Nightmare"(1986)
September 11 - Herbert Stothart born (1885)
September 11 - Arvo Part born (1935)
September 11 - Leo Kottke born (1945)
September 11 - Hugo Friedhofer begins recording his score to Between Heaven and Hell (1956)
September 11 - Stu Philips begins recording his replacement score to The Appointment (1969)
September 12 - Hans Zimmer born (1957)
September 12 - Lalo Schifrin begins recording his score to Bullitt (1968)
September 12 - Recording sessions begin for Pino Donaggio's Body Double score (1984)
September 12 - William Alwyn died (1985)

DID THEY MENTION THE MUSIC?

GETAWAY - Justin Burnett

"The scenes of dialogue are edited in the same distracting way. Rather than hold a wide shot to capture both Brent and the girl sitting side-by-side, the camera too often flips back and forth, inciting a tiresome visual whiplash. Meanwhile, the music sounds like it was snatched from an action parody. If only the movie didn’t take itself so seriously, maybe that’s what it could be."

Stephanie Merry, Washington Post

"The action (all at nighttime) is messily and crudely filmed. The plot mechanics are often laughable.How, then, to explain the film’s sudden elegance in one (and only one) shot that appears toward the end of the film like a parting of the waters? Suddenly, the frantic cutting and the relentlessly grating score dissipate for a lengthy first-person perspective of a car speeding down a rolling, suburban road, gracefully sliding around traffic at dawn. It’s a diamond that can’t make up for the other 89 minutes of rough."

Jake Coyle Associated Press

"The glimmers of wit and carnival humor in the 'Fast & Furious' franchise are nowhere to be found in 'Getaway,' except in its bizarre note of seasonal cheer. It’s Christmastime, and every now and then a fragment of 'Jingle Bell Rock' interrupts the generic pumped-up soundtrack."

"'Passion' is a serpentine, gorgeously orchestrated gathering of all of De Palma's pet themes and conceits, a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative, hallucinations are nested in dreams, and images within images become tools of aggression, all set to a remarkable Pino Donaggio score that's one part Max Steiner, two parts Bernard Herrmann, and at least three parts Phil Collins."

Ed Gonzalez, Slant Magazine

"I would not be so gauche as to identify the victim, though the crime is neither entirely a surprise nor exactly a mystery. It does allow Mr. De Palma to revisit some of his longstanding preoccupations: with characters who double each other; with deceit and disguise; with mirrors, corridors, wigs and staircases. Pino Donaggio's vivid, sensuous, perversely jaunty musical score emphasizes the almost campy artifice of the drama, which is played out by actors who rarely seem to believe what they are saying."

A.O. Scott, New York Times

"After a hilariously over-the-top music cue by composer (and frequent De Palma collaborator) Pino Donaggio, the movie’s pace quickens and its style becomes more expressionistic, with longer shadows and more extreme angles."

Noel Murray, The Dissolve

"With the help of the significant contributions by cinematographer Jose Luis Alcaine, editor Francois Gedigier, and composer Pino Donaggio -- whose score ranks with the best of his career -- De Palma creates a dreamily hypnotic atmosphere."

Peter Sobczynski, RogerEbert.com

"There’s little beyond rapacity in the hearts of the icy, smiling trio (Rachel McAdams, Noomi Rapace and Karoline Herfurth) who dominate Brian De Palma’s icily sleek story of corporate backstabbing and romantic obsession. They lie, cheat and murder to come out on top, professionally and sexually, at the international ad agency where they compete. But the passion is there in the luxuriant music (by Pino Donaggio, who scored 'Carrie' and 'Dressed to Kill,' among other De Palma films), and in the sensuality of the camera work and editing."

Craig Seligman, Bloomberg News

"There’s a great vintage 'Saturday Night Live' sketch where host Kirk Douglas does a fake ad for the album 'Kirk’s Greatest Kirks,' featuring the actor impersonating Kirk Douglas impersonators (Rich Little, Frank Gorshin, etc.). Doing so requires the actor to repeat his most famous movie lines in the hammiest and most overdone way possible. Passion” -- now on-demand and hitting theaters Aug. 30 -- is 'De Palma’s Greatest De Palmas,' as director Brian De Palma regurgitates seemingly everything in his legendary bag of tricks. Whether it’s the split screen, the tracking shot down a stairwell, the possibly-imaginary twin sister, the violent event that turns out to be a dream (or DOES it?), the flourish of Pino Donaggio’s score to underline a significant moment or the lipstick-lesbian flirtation, many of the trademark moves come out to play once again. Trouble is, rather than feeling like a greatest-hits compilation, 'Passion' smacks of self-parody; by the time De Palma makes his way to some intended-to-be-jolting final shots, I found myself laughing out loud at his shamelessness."

Alonso Duralde, The Wrap

"As the leads warily dance around each other -- using a boyfriend pawn (Paul Anderson) and concerned assistant (Karoline Herfurth) as needed -- and the gamesmanship takes a deadly turn, De Palma unloads his bag of tricks: creeping zooms, split screens, subjective-camera trickery, shocking violence and a drawn-out rug-pull ending willed to operatic heights by a Pino Donaggio score."

Robert Abele, Los Angeles Times

"Here's '90s Cinemax's idea of lesbianism, and some sexy saxophone pillow music (courtesy of Pino Donaggio) that sounds like the tears of a Nagel print."

Alan Scherstuhl, L.A. Weekly

"Most of the plot and Christine’s cutting remarks are preserved (word for word) from Alain Corneau’s 2010 'Love Crime', the Gallic, 'All About Eve'-inflected original. But De Palma imbues his version with a distinctly Eighties vibe, mostly thanks to the actors’ facetious delivery of laconic dialogue, framing (which self-reflexively invokes some of his own golden-era work), and Pino Donaggio’s soundtrack. Precise in its aesthetics, it's an excellent late-period work that shows, without being over-bearing, how the ascent of the corporate ladder can sometimes be a descent into a deeper circle of hell."

Violet Lucca, Film Comment

"As ever, De Palma remains under the spell of Hitchcock’s 'Vertigo,' from the Bernard Herrmann riffs in Pino Donaggio’s score to a key suspense sequence that prominently features a bouquet of flowers and a winding staircase. Rather more germane is the film’s simmering atmosphere of paranoia, generated by the characters’ frequent use of Skype calls, cell-phone videos and old-fashioned security cameras."

Justin Chang, Variety

"The score by Italian great Pino Donaggio, a frequent De Palma collaborator in his heyday, also takes a heavy-handed turn. The intention evidently is to keep us off-balance and add edgy ambiguity to what might or might not be real, in a picture studded and ultimately overloaded with hallucinatory dream sequences. But the impact is more irritatingly distracting than pleasurably disorienting, giving proceedings the disreputably high-toned cheesiness of 1980s erotic thrillers."

Thank you for taking the space to acknowledge Damon Intrabartolo's untimely passing. Damon was my first boyfriend and held a very special place in my soul. His death was shocking and devastating. He was a very talented artist with a huge personality and a generous spirit. He will be greatly missed.

Thank you for taking the space to acknowledge Damon Intrabartolo's untimely passing. Damon was my first boyfriend and held a very special place in my soul. His death was shocking and devastating. He was a very talented artist with a huge personality and a generous spirit. He will be greatly missed.

Damon was also a friend of mine. A composer with a great deal of talent, a conductor in infinte energy and a witty human being. I met him when I interviewed John Ottman many many years ago. He was in John's office and I think, that day, we said two words to each other.

Once Damon started working on "bare," it became his full-time passion and yet he still found time for friends and, of course, working with John.

Notice of his death comes as a shock to me, as we had not been in touch with each other for about 5 years now, but I would think of him each time I aw John's name on a new film and would wonder how he was doing. Damon, and his musical gifts, will be missed...and the world is a quiter place now. I am grateful to have known him and grateful to have music from his legacy to listen to and remember him by.